RIBA Architecture Parts 1, 2 and 3 Architectural Design and Studio Practice Flashcards

24 sample cards from the Architectural Design and Studio Practice deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. What is 'tectonics' in relation to materiality and atmosphere?

   Tectonics is the art of expressing construction — how materials are joined, assembled and made to carry load — so that the logic and poetics of building become legible and contribute to atmosphere.

2. In orthographic projection, what defines a plan, a section and an elevation?

   A plan is a horizontal cut viewed from above (conventionally ~1.2 m above floor); a section is a vertical cut showing interior heights; an elevation is an external face viewed straight-on with no perspective — all drawn parallel-projected to true scale.

3. At a drawing scale of 1:50, how many millimetres on the drawing represent 1 metre on the building?

   $1:50$ means $1\,\text{m} = \frac{1000\,\text{mm}}{50} = 20\,\text{mm}$ on the drawing.

4. What is the convention for a 'cut line' (poché) in a section drawing?

   Elements cut by the section plane are drawn with the heaviest/thickest line weight (often po-filled solid), while elements seen beyond the cut are progressively lighter with distance, establishing depth through line-weight hierarchy.

5. What is the purpose of line-weight hierarchy in orthographic drawing?

   To communicate spatial depth and importance: cut elements are darkest, near-to-cut next, and distant/projected elements lightest — allowing a 2D drawing to read three-dimensionally without shading.

6. Distinguish an 'axonometric' from a 'perspective' drawing.

   An axonometric (paraline) keeps parallel lines parallel and dimensions measurable at true scale; a perspective uses vanishing points so parallel lines converge, mimicking the eye but distorting measurable dimensions.

7. Differentiate an isometric from a dimetric/plan oblique axonometric.

   In isometric all three axes are equally foreshortened (axes at 120° apart, true 1:1 along each); in a plan oblique the true plan is rotated and verticals extruded, keeping the plan undistorted but skewing the perspective feel.

8. What is the difference between a physical study (massing) model and a presentation model?

   A study/massing model is a quick, often monochrome working tool to test form, light and scale and is meant to be iterated and discarded; a presentation model is refined, detailed and finished to communicate the resolved design to an audience.

9. In digital model-making, distinguish BIM from conventional CAD modelling.

   CAD draws geometry as lines and surfaces with no inherent data; BIM (Building Information Modelling) builds parametric, information-rich objects (walls, doors, systems) holding properties, relationships and data that update across all views and schedules.

10. What is the role of an 'analytical' (diagrammatic) drawing as distinct from a representational drawing?

    An analytical drawing abstracts and isolates a single idea — circulation, structure, programme, views — to explain how the building works; a representational drawing aims to depict appearance. Analytical drawing communicates reasoning.

11. Name common types of analytical architectural diagram.

    Circulation/flow diagrams, programme/bubble diagrams, structural diagrams, environmental (sun/wind/ventilation) diagrams, zoning/adjacency diagrams, exploded axonometrics and process/evolution diagrams.

12. In linear perspective, what is the 'horizon line' and how does it relate to the viewer?

    The horizon line represents the viewer's eye level; vanishing points for horizontal lines lie on it. Placing it low gives a worm's-eye monumentality, high gives a bird's-eye overview, eye-level gives a natural human view.

13. Distinguish one-, two- and three-point perspective.

    One-point: one vanishing point, used for symmetrical frontal interiors/streets. Two-point: two vanishing points on the horizon, for corner/exterior views. Three-point: adds a vertical vanishing point for dramatic looking up/down at tall buildings.

14. In architectural visualisation, what is the purpose of including 'entourage' and 'scale figures'?

    People, vegetation, vehicles and furniture give a sense of scale, intended use and atmosphere, helping the viewer read the size, mood and inhabitation of the space rather than just its geometry.

15. What is a 'design narrative' in portfolio curation?

    The structured story that carries a viewer through a project — from site and brief, through concept and development, to resolution — making the design reasoning and intent legible as a coherent argument, not a loose set of images.

16. What principles guide effective curation of an architecture portfolio?

    Editing for a clear story over completeness; consistent graphic language and hierarchy; showing process as well as outcome; pacing (overview to detail); legibility of each project's idea; and tailoring selection to the audience or purpose.

17. In a self-directed thesis project, what makes a strong 'research question'?

    It is specific, arguable and architecturally testable — narrow enough to investigate through design, open enough to admit multiple responses, and positioned so that the design proposal can act as a form of answer or argument.

18. What is the relationship between a self-directed brief and a research question in a thesis?

    The research question frames the intellectual enquiry (the 'why'); the self-directed brief operationalises it into a designable project — site, programme and constraints — so that designing becomes a method of investigating the question.

19. Define 'programme' in architecture and what 'programmatic complexity' refers to.

    Programme is the schedule of activities, functions and spaces a building must accommodate. Programmatic complexity refers to many interdependent, sometimes conflicting uses whose adjacencies, sharing and overlap must be resolved spatially.

20. What is 'mixed-use synthesis' and a key challenge it poses?

    Combining multiple programmes (e.g. residential, retail, civic, workspace) in one building or block. A key challenge is reconciling differing servicing, access, acoustic separation, fire compartmentation, privacy and operating hours within a coherent whole.

21. What does 'integrated technical and environmental resolution' require of a design proposal?

    That structure, construction, services (MEP), fire strategy, acoustics and environmental/energy performance are developed coherently with the architecture — not bolted on — so the building is buildable, regulation-compliant and comfortable.

22. Distinguish 'passive' from 'active' environmental design strategies.

    Passive strategies use building form, orientation, mass, glazing and openings to manage comfort with little energy (daylight, natural ventilation, thermal mass, shading); active strategies use powered systems (mechanical ventilation, heating/cooling, artificial lighting) to supplement them.

23. What is a 'design manifesto' and what does 'critical positioning' mean for a student designer?

    A manifesto is a concise declaration of the designer's beliefs, values and intentions that guides the work. Critical positioning is consciously situating one's design within wider architectural, social and theoretical debates, taking a defensible stance rather than working by default.

24. What is the purpose of a 'viva' (oral defence), and how should a candidate prepare to defend their design?

    The viva tests a candidate's ability to explain, justify and critically reflect on their work before a panel. Preparation means knowing the project's argument and weaknesses, anticipating challenges, rehearsing a clear concise narrative, and being able to respond to questions with reasoned, evidenced judgement rather than defensiveness.

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